Friday, November 23, 2012

Becoming a Man in 127 EASY Steps « Aisle Say Twin Cities

Becoming a Man in 127 EASY Steps « Aisle Say Twin Cities:

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Posted on November 10, 2012 by 

Scott Turner Schofield in “Becoming a Man in 127 EASY Steps.”
As the opening to the MORPHOLOGIES Queer Performance FestivalScott Turner Schofield‘s Becoming a Man in 127 EASY Steps is a perfect balance of art and storytelling. The three companies organizing MORPHOLOGIES - Pangea World Theater, 20% Theatre Company, and RARE Productions – have spent the last two years putting together the festival, which aims to celebrate and raise awareness of queer, transgender, and gender non-conforming issues. Schofield’s deeply personal, unexpectedly funny account of his transition to maleness sets just the right tone for what is sure to be an entertaining and thought-provoking collection of performers.
Becoming a Man is a unique format for a one-person show: part acrobatic performance art, part storytelling, Schofield combines the best aspects of the two different styles. As he climbs and twists up some hanging fabric, the more abstract medium allows him to delve into the more introspective sides of his transition, while the choose-your-own-adventure storytelling component – although a pretty overused gimmick in solo shows – gives him the opportunity to connect personally with his audience. This keeps the performance different every night and fresh for Schofield, who performs each story, whether a funny two-line quip or a more shameful admission of wrongdoing, with unflinching honesty and charm.
Viewers expecting to hear how Schofield knew he was a man will be disappointed; instead, he takes his gender identity as the starting point. This choice allows him to shift away from the usual transgender narrative (confusion, angst, seeking acceptance from friends and family, etc) and focus instead on the more tangible realities of the transitioning process. His stories are about all the minutia of day-to-day gender presentation – the importance of the angle of a hat or the choice of what size fake penis to buy – and the occasionally painful mechanics of living in a male body – for instance, the ritual of testosterone injections and the associated increased risk of heart disease.
All of these theatrical choices amount to a performance centered on Schofield as a human being, not simply as a member of a queer community. Though specific to the experience of a trans man, his stories also provide a mirror for cis-gendered* people to consider how many aspects of their own gender they might take for granted or perform, unthinking, on a daily basis. For Schofield, the transition is never-ending: not only is he committed to a bi-weekly testosterone shot for the rest of his life, but he seems to be discovering new sides to his maleness every day. His experience of constantly becoming a man, as well as his energetic and humorous approach to the ironies and contradictions of gender, allows him to present identity as a multi-faceted and continually evolving collage, rather than a story with a neat moral or conclusion.
If Becoming a Man is representative of the rest of the MORPHOLOGIES festival, the rest of the week will be essential viewing – not simply as an exploration of gender issues, but as an eloquent look at human identity and relationships that encourages us to embrace difference with compassion and humor. (Schofield’s performance is for two nights only, but more information about the entire festival line-up, including free workshops and panel discussions, is available here.)
*cis-gendered = the opposite of trans; a biological male who identifies as male, or a biological female who identifies as female.
Becoming a Man in 127 EASY Steps by Scott Turner Schofield. November 9-10 at the Ritz Theatre, 345 13th Avenue Northeast, Minneapolis, MN 55413. Part of the MORPHOLOGIES Festival, November 9-19, 2012. More information about the festival at; information at Schofield at

Monday, August 20, 2012

La Faculté

  • They are between 17 and 20 years old, they run into each other, talk to each other, lie to each other, ignore each other, defy each other, take drugs and make love. They have their territories: the housing projects or the subdivisions, the football field, the faculty. Codes function, prohibitions are contained in the unspoken, until the day when deadly tragedy disturbs the state of things, making conflicts explode, turning upside-down the fragile balance of their micro-society. A racist murder? A sex crime? A tragedy, in any case, like one that is heard in ancient Greece, that crosses siblings, that sets common law against family law. Under Christophe Honoré's pen, these characters from daily life become the heroes of a clash that goes beyond them and forces them to admit what cannot be admitted. It is this theatre of today, always linked to that of origins, that Éric Vigner stages with the actors of the Académie, these young actors who have come from near and far, worthy representatives of the “world's youth”. A laboratory theatre in which Christophe Honoré's “mixed words”, both poetic and concrete, never drawing back before crudeness, give an account of the complexity of amorous desires, the fear of differences, the violence of a troubled society threatening to fall to pieces. It is with these extremely alive bodies haunted by strong words that Éric Vigner occupies the theatre's stage. For a striking portrait stripped of all artifice that is as much drama as pamphlet.

  • Distribution
    direction, scenography and costumes Éric Vigner
    artistic collaboration Jutta Johanna Weiss
    lighting Kelig Le Bars
    dramaturgy Sabine Quiriconi
    make up and hair Soizic Sidoit
    assistant to the direction Morgan Dowsett
    assistant to the scenography Nicolas Guéniau
    assistant to the costumes Sophie Hoarau

    with the actors of the Académie Vlad Chirita, Lahcen Elmazouzi, Eye Haidara, Hyunjoo Lee, Tommy Milliot, Nico Rogner, Isaïe Sultan
    and Scott Turner Schofield, Jutta Johanna Weiss
    production CDDB-Theater of Lorient, National Drama Center of Brittany
    coproduction National Dramatic Center Orléans/Loiret/Centre, La Comédie de Reims National Dramatic Centre
    with the artistic participation of the Jeune Théâtre national

Thursday, August 16, 2012

Actor Resumé

EYES: blue     HAIR: blonde     HEIGHT: 5'11"     WEIGHT 145
Representation: email Gaskins Management

Film, TV, and Industrial

Written up in Entertainment Weekly

Des Mots de Minuit
Talkshow Guest
France 2
Aired 10/10/10

The Conveyor Belt of Love
Primary Contestant
Aired 01/04/10

Portrait of Turner
Director: Irene Gustafson
Independent Feature

With George Lucas 
Mysterious Rituals
Principal Subject
Director: Deborah Blum
The History Channel

Teller Training Industrial
Bank of America

Commercial appearances available upon request


La Faculté
with Isaïe Sultan

La Faculté
by Christophe Honoré
World Premiere at Festival d'Avignon 2012
Currently touring
Director: Eric Vigner

Becoming a Man in 127 EASY Steps
Original Solo Performance
Currently touring
Director: Steve Bailey

Becoming a Man in
127 EASY Steps
Debutante Balls
Original Solo Performance
Currently touring
Director: Steve Bailey

Wizzer Pizzer
by Amy Wheeler
World Premiere at 7 Stages
Director: Melissa Foulger

Underground Transit
Original Solo Performance

As You Like It
Wizzer Pizzer
with Topher Payne

Le Beau
Director: Janice Akers

Voice Over

Necessary Luxuries
various characters
by Topher Payne

Self-Organizing Men
Des Mots de Minuit

Edited by Jay Sennet


Film Acting Alliance Theatre Acting Program
Stage Acting DAH Teatar International School; Emory University Theatre Program
Voice Bucky Motter; Elisa Lloyd
Movement Celeste Miller; SITI Company Summer Intensive; Out of Hand Theatre Company
Aerial Acrobatics Nicole Mermans; Cathy Sutherland
Clowning Kenny Raskin; Kelan Scher

Strange Rituals
Special Skills

Moves eyebrows independently; French (intermediate fluency), Spanish (fluid speech); Deep South and Texas accents, Southern and Yorkshire British accents; Aerial acrobatics on tissu; Rhythm guitar; Horseback riding (Western); Juggling 3 balls; Drag.

Writer Resumé

Two Truths and a Lie: A Memoir written and performed. Homofactus Press. Ypsilanti, 2008.
Finalist for 2008 Lambda Literary Awards in Drama and Transgender categories -
2009 American Library Association Rainbow List -

"The Spitting Game" with Lauren Feldman, Sigrid Gilmer, Dan LeFranc, Nicholas Surbey and Steve Yockey. Full length. Workshopped at Theatre Emory Brave New Works 2009.

"School's Out" with Mark Blankenship. Full length. Workshopped at Theatre Emory Brave New Works 2005.

"Turn Me On" with Sheri Mann Stewart. Full length. Workshopped at Theatre Emory Brave New Works 2004.

“Underground Transit” in National Transgender Theater Festival Reader, New York: Renegade, 2003. 

Excerpt from “Underground Transit” in [Becoming] Young ideas on gender, identity, and sexuality. Diane Anderson-Minshall and Gina Devries, Eds. Exlibris Corporation, July, 2004.

"The Wrong Body" Gender Outlaws: The Next Generation. S. Bear Bergman and Kate Bornstein, Eds. Seal Press. New York, 2010.
2011 Lambda Literary Awards for Transgender Nonfiction and LGBT Anthology -

“Are We There Yet? On Being and Becoming a Transgender Performance Artist” Self Organizing Men. Jay Sennet, 
Ed. Homofactus Press. Ypsilanti, 2006.

"Coming of Age—Still Performance / Manifesto" Women & Performance: a Journal of Feminist Theory, #28. New York University, New York 2004.

“Top 10 Queer Music Moments” list contributor, Out Magazine, July issue, 2008.

“Letter to the Editor” Out Magazine, April issue, 2008.

“When I First Knew” Out Magazine, March issue, 2008.

“I am the Pride Sucker.” Atlanta Creative Loafing, June 20, 2003.

Didn't It Feel Kinder by Amy Ray (Daemon Records, 2008). Promotional copy for publicity and sales.

Friday, December 2, 2011

Visual Art: The Baby Jesus Invitational

More Precious than Gold 

By Nancy Laurel

Mary and Joseph Candles
by Jimmy Riordan
Prayer Box
by Saunders McNeill
by Michael Conti
Oh Come All Ye Faithful

Sunday, November 20, 2011

Performance: Penny Arcade B!D!F!W!

 EXTENDED RUN: B!D!F!W! Penny Arcade
 "Arcade's strength is that she takes issues which divide and frighten people and exposes the absurdity behind them. A wonder to behold...Beg, steal a ticket."
-- Newsweek

8 p.m. Friday and Saturday

a Sunday performance
(we call it Penny's Sunday service)
at 5 p.m. Sunday, Nov. 20.

Tuesday, November 1, 2011

Performing Arts Market in Seoul 2011

Focus >

Issues in Korea performing arts scene
Contemporary Performing Arts in America
Contemporary Performing Arts in America
Written by Haeju KIM _ Researcher at National Theater Company of Korea2011.11.01
Contemporary Performing Arts in America
[Focus] Review of NPN Presentation at Performing Arts Market in Seoul 2011

As a function of the Performing Arts Market in Seoul 2011, the members of the National Performance Network (NPN) of the United States introduced contemporary US performing artists and troupes at the National Theater of Korea on October 11, 2011. NPN comprises 61 artist-centered presenting organizations and the NPN Partners, representing every region of the country, and celebrates its 26th anniversary this year (founded in 1985). It aims to create meaningful partnerships among performing arts organizations and centers, to share the information on the contemporary artists, and provide financial support to the artists in the United States. From about a decade ago, it started expanding its exchange beyond the borders of North America with the title of Performing Americas. Now, it cooperates with Latin American artists and their groups, led by La Red, the association consisting of producers in the region. Moreover, it has been building cooperative relations with the Korea Arts Management Service as part of its KAMS Connection partner for 2 years. Now, the program mainly focuses on mutual exchange of information, and plans to pursue direct exchange among the artists of both sides.

What NPN focuses in global exchange is how to facilitate information flow and to build efficient information networks
What NPN focuses in global exchange is how to promote mutual exchange of artists and to build efficient information networks. Showing a work in the partner country is for mutual exchange of artists. Meanwhile, the latter is intended as a long-term vehicle for securing constant exchange, even when a counterpart is unable to put its piece on stage in the other country.

At its annual convention, each partner organization makes presentations on how performing arts are conducted across the United States. This year, NPN made it at the PAMS. This year’s presentation was a revamped representation of last year’s, focused on contemporary performing arts. Chosen for the presentation were four organizations representing the Eastern, the Western and the Central United States, along with the State of Alaska, to represent the entire country. The presentation also introduced a variety of experimental works touching on music, theatre, dance and other types of performing arts programs. Especially, centers dealing with multiple cultural genres participated as well, which simultaneously pursue art and performing arts programs.

Topic for Local Community

Producer of Out North in Anchorage, Scott Schofield introduced the programs concerning his local community with focus on the individuals copying with collective interests and environment. The programs seemed to arouse the demand for their meanings, interest and topics, in consideration of ethnic, race, environmental and political characteristics of the State. Schofield stressed that the company’s residency program contributes to creation of works enabling exchange with foreign local communities.
Teo Castellanos D-projects are the vehicle to deliver strong social messages, employing hip-hop and break dance. A recent brainchild of the program, Fat Boy is about poverty, famine and trash, and accommodates the pop culture of the 1980s, meditation, and social suggestions. Trained in contemporary ballet and jazz by trade for more than 30 years, artist and educator Leslie K. Ward showed a great interest in educational and local community programs. The 1000 Cranes for Alaska campaign, founded by her, is spreading across America, which is to prevent suicide. Lately inspired by her own experience with gypsy and carnival cultures, life in the Southern United States, and her Japanese heritage, she has released dance piece  Orphan expressed in strong vocal and colloquialism. A dance troupe, the Pat Graney Company worked out a 500-m2 intallation piece House of Mind, in cooperation with local folks. To represent the mental image of home, audiences are allowed not only to watch, but also to touch and feel things reminiscent of their memories about home, along with the performance of dancers within the structure. Based on the local culture arising out of his memory about his grandfather, who had been the last shaman of the Yupik people, storyteller Jack Dalton introduced works highlighting the importance of storytelling in preserving culture.

Contemporary Arts Delivered in Multimedia and Multi-genre Arts

George Lugg introduced multimedia works, who is the associate director of REDCAT that wishes to mark itself as the contemporary arts center representing the Western United States. Big Art Group expands the boundaries of theatre and its tools of expression by simultaneously projecting what actors do on stage on multiple screens. In addition, The People shows interviews with ordinary people about their concepts on democracy, war, terrorism justice, along with ancient Greek tragedian Aeschylus’s The Oresteia. It appropriately depicts how to communicate within a local community and how democracy was born. This work had toured Austria, Germany, San Francisco and New York, reproduced in distinct versions. Multimedia artist, Miwa Mateyek is the founder of Cloud Eye Control that resorts to media as performance tool. She created a work mingling animation with actual performance and installation. Myth and Infrastructure is a performance in which her silhouette intervenes over the screen where an animation is projected. The animation deals with primitive world and congested urban space. Paralleling fantasy with non-fantasy in combination of human body and virtual space, it expresses in metaphor collapse of the former.
In charge of performing arts programs at the Museum of Contemporary Arts Chicago, Yolanda Cesta Cursach paid attention to and introduced the artists that have worked on collaborative works in the city where more than 300 performing groups exist. Founder of Lucky Plush Productions, Julia Rhoads presented a dance performance The Better Half that reinterprets Gaslight of 1944, which deals with a wife who is led by her husband to the belief that she is a mental patient. The Better Half illustrates the instable human relations of today. Tsukasa Taiko At JASC is a tour group consisting of African-Americans and Asian-Americans in the United States. Incorporating the Japanese drum “taiko” and improvised performance by renowned jazz musicians, the group draws attention at diverse jazz festivals in the United States.

Representing Legion Arts in Minneapolis, Minnesota, John Herbert introduced pieces associated with music. Interested in grafting of contemporary music and mass media, composer Mikel Rouse has created a talk show-like opera in which he plays host and audiences participate as guests. His latest work Gravity Radio was born out of his inspiration about theoretically existing, but undetectable waves. This work is played in a mixture of the voice and the guitar sound carried by his own band, the string quartet recruited in the local community where it is played, short wave radio frequency, and live AP radio news broadcast.

Moreover, Hijack introduced Smithsoniansmith. The entity pursues low-tech esthetics through employment of a stage where ordinary things are intentionally stacked. Morgan Thorson from Minneapolis parallels physical moves with the language repeating at a place like an auction. He draws attention to his collaboration with the renowned Minnesota indie band Low.

Leads Killing Prejudices

It is impossible to understand the contemporary performing arts in the United States with brief images and summaries of the works presented during the 90-minute session. The presentation demonstrated how distinct genres and cultures try to accommodate each other and how the efforts are expressed. But it was not sufficient to give an insight into artists and hidden messages. But it sufficed to put out the prejudice that the United States lags behind Europe in terms of performing arts. The puzzle pieces thrown by NPN partner organizations helped put in perspective the broader picture of American contemporary performing arts. These leads hopefully contribute to exchange of the artists across the Pacific and to stimulation of mutual contribution.

| the National Performance Network(NPN)   GO
| La Red   GO
| Anchorage Out North   GO

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